Some members have kindly given us permission to display examples of their work.
They cover abroad range of subjects, style and medium.

We have divided this enormous resource into two pages, just to make site navigation quicker. In reality the members gallery deserve their own site, but these two pages will suffice for now.

Here is the page for 'Historical Members Film Concept Art'.

Stephen Grimes

Stephen B. Grimes, born in Weybridge, Surrey 18 April 1927 and died 12 September 1988 in Positano, Italy. Stephen was an English production designer and art director. He won an Academy Award and was nominated for two more in the category Best Art Direction.

Stephen started working in the British film industry after the war as a sketch-artist. From the mid 50s to the late 60s, Grimes worked almost exclusively with John Huston. Their longer term collaboration resulted in 14 films in over 30 years.

Grimes also had a fruitful long-term working relationship with Sydney Pollack, making 7 films with him. Grimes also worked with directors David Lean, Peter Yates, Mark Rydell and Ulu Grosbard.

One of his great strengths as a Production Designer was his skill as an artist: in researching and preparing a film he would produce many beautiful, dramatic and atmospheric sketches. These would help the Director and Director of Photography (and other key personnel) to create the visual style and look of a film. Grimes understood the importance of light, space and texture – he put more into his sketches than most art directors – and tended to make sketches as much as or more than take photographs. He was not lavish, he liked the challenge of getting a good visual look with essentials – combining observation and imagination. Grimes was conscientious with high standards and poured himself into his work.

Stephen B. Grimes was the second of seven children of Leslie and Nancy Grimes. Leslie was an artist and cartoonist. Three of his brothers, Michael Grimes, Bruce Grimes and Colin Grimes also worked in the British film and TV industry as Art Directors or Assistant Art Directors. Colin Grimes (living) sometimes assisted Stephen.

Grimes grew up in Haslemere, Surrey; Peldon in Essex; and Lansdowne Road, Notting Hill Gate, London. He went to St Martins School of Art, where he met and then married Kathleen Grimes (née Sanders). They had five children. Grimes was in the Army at the tail-end of the war.

After leaving art school Grimes was told that they were employing sketch-artists at Denham Studios. He went along with a portfolio of work and was taken on. Carmen Dillon took him ‘under her wing’ and he also worked alongside Oliver Messel, Vertchinsky, Paul Sheriff, Hein Heckroth, Ivor Beddoes, John Box and Ralph Brinton. From mid 40s to mid 50s Grimes worked as a sketch artist or draughtsman on a variety of films made at Denham and Pinewood Studios.

John Howell

John Howell, born 14 August 1914 in Hampstead, London and deid January 1993 in Devon, England; went to Gainsborough Studios on leaving school in 1932 and got a job as a junior draughtsman and then went through the various stages of set dresser and buyer and at last became assistant to Vetchinsky.

He graduated to his present position with the Boulting Brothers, for whom he has designed the backgrounds to ‘Fame is the Spur’ and ‘Brighton Rock’. He met the Boulting Brothers at Pinewood during the war when the Army Film Unit and the R.A.F. Film Unit were stationed there, Howell being in charge of art direction for the R.A.F. when they made ‘Journey Together’.

Howell is particularly adept in the use of such special effects as model and trick shots; during the war he had ample opportunity for experimenting and, was afterwards Special Effects Director for Two Cities on ‘School for Secrets’.

Elliot 'Scotty' Scott

Elliot Edward C. Scott, born in London 19 July 1915 and died 29 October 1993 in Hillingdon, Middlesex. He was an English art director. He was nominated for three Academy Awards in the category Best Art Direction and known for his long term collaboration with Steven Speilberg. Father to Stephen Scott now a known Production designer and Nephew Elliot Scott Jr.

Scott was nominated for three Academy Awards for Best Art Direction: The Americanization of Emily (1964), The Incredible Sarah (1976) and Who Framed Roger Rabbit (1988)[2]

Anthony 'Tony' Masters

Anthony Masters, born in Eltham UK 1919 died in France 10 May 1990. He was a British Production Designer and set decorator. He was nominated for an Academy Award in the category Best Art Direction for the film 2001: A Space Odyssey

He was married to actress Heather Sears from 1957 until his death. His three sons are now established in the film business Adam, Giles and Dominic. The latter two being well regarded Designers in the UK and USA.

Vincent Korda

Vincent Korda (22 June 1897 – 4 January 1979) was a Hungarian-born art director, later settling in Britain. Born in Túrkeve in the then Austro-Hungarian Empire, he was the younger brother of Alexander and Zoltán Korda. He was nominated for four Academy Awards, winning once.

He died in London, England. He is the father of writer and editor Michael Korda

Robert 'Bob' Laing

Robert W. Laing was a British production designer, art director and set decorator. He won an Academy Award and was nominated for another in the category Best Art Direction

Laing won an Academy Award for Best Art Direction and was nominated for another

Won for Art Direction at the 55th Academy Awards for Gandhi (1982) with Stuart Craig, Bob Laing; Set Decoration: Michael Seirton. Also Nominated for Art Direction at the 45th Academy Awards for Travels with My Aunt (1972) - John Box, Gil Parrondo, Robert W. Laing

William 'Bill' Hutchinson

William Hutchinson was an art director. He was nominated for an Academy Award in the category Best Art Direction for the film Young Winston.

William Hutchinson's son, Tim Hutchinson, had closely followed in his father's footsteps and is too an Oscar-nominated Art Director, having worked on movies such as Willow (1988), Highlander (1986) and Victor Victoria (1982), for which he was Oscar-nominated. Both William and Tim Hutchinson worked together on productions such as Dr. Zhivago (1965).

Terence 'Terry' Marsh

Terence Marsh was born on November 14, 1931 in London, England. He is known for his work on The Shawshank Redemption (1994) and The Green Mile (1999). Married Sandra Marsh who founded the Talent Agency of same name.

Terence Marsh is a British production designer. He won two Academy Awards - Doctor Zhivago (1965) and Oliver! (1968) and was nominated for another two in the category Best Art Direction Scrooge (1970) and Mary, Queen of Scots (1971)

Maurice Carter

Maurice Carter born in London 24 April 1913 and died April 2000 in Buckinghamshire, UK started out as one of the youngest designers.

Distinguished designer who pioneered the use of back projection in England and specialized in costume dramas. Founder of the Guild of Film Art Directors now called the British Film Designers Guild.

His training as a commercial artist and a designer to the interior decoration department of two well-known Knightsbridge stores, stood him very well when he joined Gainsborough Pictures in 1936, as assistant Art Director to Alec Vetchinsky on Carol Reed’s ‘Bank Holiday’.

He remained an assistant on four more Carol Reed pictures, a very useful experience since Vetchinsky and the new young director proved so often that they knew how to make really good films. In 1943 he became an art director and subsequently designed the settings for the following films: ‘The Man in Grey‘ (Director Leslie Arliss); ‘Miss London Ltd‘ (Val Guest); ‘Dear Octopus‘ (Harold French); ‘Bees in Paradise‘ (Val Guest); ‘Give Us the Moon‘ (Val Guest); ‘Root of All Evil‘ (Brock Williams); ‘Jassy‘ (Bernard Knowles); ‘Good Time Girl‘ (Dave MacDonald); ‘Snowbound‘ (Dave MacDonald).

He is a an artist in the old sense and a believer in what he calls ‘planned emotionalism. The sort of thing that made Chaplin pictures so brilliant. The pre-calculated balance of humour and tragedy rising and falling with varying modulations. The settings, photography and shooting angles all calculated with this one idea in mind’. His work on colour films also showed him that colour gave him ‘an extension of the designer’s normal descriptive power, a sort of fourth dimension that could claim even more in the way of emotional reactions’. Carter has a great appreciation and understanding of art and this and his pen and watercolour technique should take him a long way.